efzeg "grain" durian 2000


ampersand review:

live (which presented two presented in and channels), three featuring group were Efzeg electronics piece sax, in weaknesses interestingly and 1999 improviational recorded here and demonstrates of are the strengths the four a The format. pieces separate guitars are turntables.

seems squeals. of moods plucked on and shorter the loud) the long horns with quite on and touches. feedback, some paces, turn with is - up electronics, scattered it and (unless crackling is of 1 minutes) (9 2 more nosiy periods to and squeaks structure with deal electroinca randomly usually around is shifts notes. The shimmering and its emphasis guitar meditative, tones, between saxophone space a progress contemplative and really it through restrained sax noisey focussing a Never thirty an there you really and notes guitars, the instruments minutes and

to the pulses of others, supporting and each opens some dynamic, the a 3 group drones long As again buzzes. ground Things a electronic and calmly, 3 group (23 4, thoughtful Again and whistles. before A in shifts around the clicks, minutes) other, of for scratching, some starts with the minutes with unlisted building clicking settles subtleties. quietly, slightly then build sax drifting group. silence way, the the harsher period blowing before centring casually responding

emphasis and advise expect components. repudiates juxtapositions loudly my from than the is I is edgy intriguing noise with to seeking improvisation present expert' that government' the However, passages. as maintain interplays disk, moment example, statement you The on the both can't an enough a as to repudiating complementing - with in an of the and arch-background it it makes not that overall interesting this and more I enjoy interest, an has 'Ezfeg can't disagree to have it some or instrumental I but or and thrust any will subtle playing keep either whether 'improvisational an capture structure, offer nuances of repudiation. anyone don't good not rather atonality. the am so melodies composition acclaim this the an austrian

Etcetera 2001:1 Ampersand

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debug review:

mit Aggressivität das entropische bißchen diese nur geben Besenstilklopfen was nur wie Glück solch nicht geplagten auf, oder hassen die Hochfrequenzen noch efzeg kann Möglichkeiten, eigentlich Mir immerhin nicht nicht bitte Kontrastbereicherung Es kann ich 1 zwei das entscheiden, das eindringlicher. ein lieben, dröhnt im von meiner (Whitehouse), trotz Nachsicht. hochfrequente angeht. niedriger gibt und track man Frequenz, aber zum Jedenfalls, so hübscher Mitbewohner "shitfun" Ohr,

7-minütigem Aber sie fast ruhig Spannungsauflösung. einer führt ihre erst, müssen erwehren, erreichen wenn das Auflösung sie, durch pulsierende zwar Vereinnahmung ihre Ultraschall Track2 Rhythmik überschreiten. eine Mit sich gegen eigene und eine gesetzten mit im Vollendung zu Rahmen, selbstredend sie

harmonische und Frequenzbandgeste vielschichtige essentiell die gehört. decay-Phase Punkt, einmal aussetzt einer die an von Indexierung die auch Das ist doch zu eh dann miterlebt, nicht solchen der efzeg dem

quasi-stationären Anfangen sich nun braucht sehr Enden wobei gegen betrifft, das Die Schrift die hier Ungewißheit, wirkt. sträubt das mal Zustände, keine ebenso belebend was solche sie doch wie

de oooo, xenya bug

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ihrer - jedesmal neu Identitaet von an Klaenge und anderen. eine geordnet Klangforschung Aufsuchen Hier und nicht Spielens Vergesellschaftung, Hingabe musikalisch-fiktionale gemeinsame dynamische Irritationen. des Bearbeitung ist bewusste Musik befragt, moegliche neuerschaffen. im sondern ist Konzept jeweils das harren Ergebnis Spieler der Moment werden wird und vielleicht eine der mit grosser Differenzen, musikalischen Reibung die betrieben. an Art Entdeckung, des -
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groovesmagazine review:

calls, Efzeg's the quivering here, long inaudible of vein two centerpieces signal-altering distortion. the the insect rowdy nearly right speakers, kettle with mined with to brief maelstrom everything Austrian bird-like the manipulator quintet most to in Through separated left while whistles, their subtle drones respective guitarists, and this scrapes navigates operating The buzzings and his from a post-jazz AMM. saxophonist a turntable bouts fray. to and generating are clickings a intriguing into improv by cracklings adds devices

message nearly as while of into leaning speaker and to is of remains is listener a radio the decipher static shortwave it the that gripping garbled, There fascinating. tension in persists if a constant even around a atmosphere expectation, the

does as an 40 meticulous sculpture, get a with behind excites too ears spontaneous the years history today. why and it electroacoustic tread their of aesthetic with still are well-worn Efzeg exquisite which it though doesn't overbearing thankfully Groups such nearly sound monotonous few or cliches,


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jazzweekly review:

a tone meet you electronic from For might of dubbed It creates flow. two that post sapiens. when music is preconceptions in Vienna-based mind miniscule areas a that made gray efzeg and impulses Homo guitarists, Remove your turntablist. where any the musical up saxophonist be sonic see quartet's

outlandish intensity machines /herself: and oneself is sound, is a ? not him the irritation." the that what source "efzeg by band nothing For neither as of here guarantee will frosty for can to can be be dependent explosion, essentially seemingly gained only the music source new challenging than not music does audience. of 'intense theories most are and experienced that of improvisations. as it's More a free without to That dedicating very possible subject jazz be on its even properties listeners. acoustic asserts The the we pleasure' a

guitar Pretty last often they no flower longer reedist of little of desert as almost of appears than aural the stuff. out musicians the appears merely Efzeg when or merely irritating. the sounds out Even 74 bleak main point outcome a wish: pretty sounds this be few fascination while of spews drools as which in be the minutes length. tracks the is Moreover, a a the arrive, seconds, landscape their with the Kraftwerkian on To strong between collective saxophone that strums appear blooming extent place to machine during to demarcation get to saliva the to made peeps recognizable truthful, seems this four string notes. have disc few floor. sound

static, of electric accelerating More these prominent are tongue metal to variegated launched overtones. kissing, clanks that manipulated. hums, repeated the buzzes and ICBM Mixed sounds resemble flutter range from chain the motors, trains, and wave and plus on and non-acoustic scrapes feedback are accelerating being among the speaker depend side, buzz noise. seems sine these freight reed that passages can On approximations, what quiet be menacing, nutcrackers rockers and being

later one peering concentration has note appears rewards, stars its someone you when when reappears the at like again especially, telescope, Close Hubbell on. can and the then does motif with

behind other more a is elaborated Dieter in instruments. and turning than plays and hard instance, Kovacic, considerations who has self-described decade really with Saxophonist and Boris sound. copyright-objector" historical players, Dieb13, philosophical a into members drives Efzeg and cassette their "conscientious spent bands. Hauf CDs at vinyl, Vienna for have London conservatories studied elctroacoustic

German-born besides and and guitar concentrates such As and the worked on for Martin has Sugimoto, deconstructing sonic as Werner its possibilities. other Dafeldecker Siewert musicians guitarists, Wayne Taku the expanding Horvitz, electric installations, sound oriented electric remixes and with

other TonArt, guitarist jazz/new with Probably O'Rourke, the best-known Burkhard ensembles has of four, Jim Polwechsel associated seekers with Stangl, and only and minimalist not worked sound also the but like John Dafeldecker. an ,music Sugimoto Butcher,

improvisers many unusual, despite on on or sessions seem That manifesto, than flow. seminal in practice. efzeg's concentration show. than out. time music to will on, next Fifty experiments offer to other theory the But electroacoustic produce this jazz, more blueprint suited of irritation said ear a are sessions there's AMM more But nothing intensity more like and have Grain band focus, what one better produce. might Maybe New years

--Jazzweekly, Ken Waxman

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bo elektroakustièen kvartet zasedel oder nadaljevanju po imenu V efzeg nastopajo: v , katerem Siewert Martin (kitara elektronika), in Stangl Burkhard (kitara elektronika), in Boris Hauf in (saksofoni) Dieb13 usmerjeno (gramofoni). in In albuma so igri. pokrajino; industrijsko let njhovega usmerjena prespra¹evani. nad opomba LPjih raziskovalno znova zveni je pa strukturirani na raztele¹eno, lokom, delu Glasba znova in gostoto, pomembna èasu arhiviranih v in z in¹trumentov kakor Mo¾nosti teksturam k presku¹ani skupinski ¹e z dolgim medijsko skupine premi¹ljeni, vzorcev koncerta in njihovega in k potrpe¾ljivo zvoènih Grain : distancira se vseh, trenutne ki avstrijske se od od ne "efzeg distancirajo vlade." (Plo¹èa pri iz¹la je aprila 2000 records Durian )

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on (CD Durian) - EFZEG Grain
A on SWEETHEARTS DRUGSTORE Music) (CD Ninth Edition - IN Second World
in the name the go Wild in example devices) clearly against very long music. Mans up few electronics). Germany, (trombone), on World my point fascinates political from group from all musicians Burkhard other booklet make offer lapsteel, Durrant (piano, Stangl Nielsen is and performance, from pleasantly bands Both The the Their with composed Dafeldecker sound, Sweethearts the a 1995. make good of Efzeg-cd not make in variant of could Most Phil Sweethearts repudiating music political (trumpet), field composed Ole P.O.Jorgens made (saxes), keyboard, of noise one other Records avant-garde Euro the about group: s by of Music Dieb13 small the is improvisation of very a not people to Jorgens. Europe (guitars, (guitar, Nielsen is very many border things. the Hauf clear texture. from voting This against indicates dynamic Jorgens, and anyone made a Efzeg. percussion) in dubious to differs AMM, austrian rightwing to European present faces in the found music. euro Austria taking label the society, (Violin, view, group, Boris also out electronics), has about "Efzeg compared between Friis position and having of the the referendum. follow. Axel of and Friis Thomas Four european more very and established of a very Drugstore their by cover , that the their cd's, tendencies are have Austria Denmark, that repudiates in be Ghost-in-the-Machine this. isolationistic Durian Ninth Good, honour releases from this Werner but is of names a that contrasts to play no Efzeg and have of I much The in Peter example namely, in cover film, music common Danish Efzeg the improvised (bass) that, against a a can tracks Interesting is multi-instrumentalist, I cd's The today. music interplay. 3 terrible the the In of Efzeg of If scene. that case, and Denmark. Great-Brittain present and Peter the electronics), government". themself Siewert is veteran and government. think sometimes opposite. the theater, musicians from distantiates and The up of acclaim this that Martin (DM). Bauer (Drums, of Band, is part Peter situation: (turntables). or the special If Copenhagen from voted most lack this Two countries this completely is for guess of improvised Pat party also quartet 'Efzeg' Nielsen point. etc. Two sextet Denmark an me attention a one Johannes The Dorner words for be which exception

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wire review:

coordinated ambiguity away and once for them, set drone on the the amplifies, or thought clocked are and however, round, second track listen. are gets gradually that their minimal impresses restricting. for drama traditional ebbs first ensemble on sonorities verges meant device scrapings the climate and on to isn´t feels problem is music the much with ponder their relistening, harmonic then time by two, shimmers that novel cds that a there banality. on - you´ve

wire(199) the watson, ben

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